1, the first motive evidently ends with the longer tone, _g_-sharp.

In No.

2, each one of the four motives differs from the others in length; the sum of them is, however, exactly 24 beats, or 8 measures; hence, each one is _actually_ a two-measure motive, counting from accent to accent.

The upper numbers indicate the _actual, vital_ beginning of each motive.
This very natural, and fairly common, inequality increases the difficulty of analysis somewhat.

A knowledge of the principal chords, and familiarity with their manner of employment in composition, greatly facilitates the task, because the harmonic design furnishes in many cases the only unmistakable clue to the extremities of the melodic members.